Senior student Thomas Hong, avid video gamer, skilled violinist, and keen baker, has made a name for himself as Collingwood’s #1 rapper under the name FuegoTi. Ever since seventh grade, Thomas has displayed a profound interest in discovering and listening to rap; now, creating and performing this genre of music has grown into a hobby and passion that plays a vital role throughout his daily life. Just like how he regularly brings in mouth-wateringly delicious, carefully crafted brownie bites and hazelnut praline desserts to his peers and teachers, he is constantly excited to show off his latest written verses and lyrical ideas, and keenly asks for feedback from Mr. Smith as means to strive for betterment in his craft.

Thomas performed at a school-wide assembly for the first time during first term of his senior year; he reveals that very few knew about his clandestine hobby that has developed over his high school years. He has spent time alone throughout his week writing lyrics and making beats purely to relieve stress and for fun, filling notebooks with his thoughts and emotions.

“Ever since a friend told me about his experience of creating a rap society in college, and the impact it had had on students, I was hooked on the subtle yet profound messages of rap lyrics—behind the seemingly frivolous words is a powerful voice. I’ve always been intrigued by linguistics, since we form relationships, debate, and learn in words. Rap opened up a new chapter of music for me to think about rhythm and groove. It added lyricism to my world of jazz and classics, which sometimes limits my expression.”

Rap music, generally referred to as “hip-hop”, is a music genre developed in the United States by inner-city African Americans in the 1970s. It commonly consists of a stylized rhythmic music accompanied by rapping, which is a rhythmic and rhyme speech that is chanted. A great deal of hip hop has always openly spoken about and explored in depth aspects of black urban poverty, giving a ground-level view of what it means to face daunting circumstances in ghetto communities. Rappers’ lyrics really do offer enthralling tales of loss, sorrow, exploitation, and despair about conditions that are overlooked by the larger society.

When asked about his thoughts on the phenomenon and implications of Asian rappers gaining Western mainstream media attention in the recent years, Thomas says that he thinks that it’s a very good opportunity for Asians to get involved in the American/global race dynamic as means to explore cultural relativism. Moreover, Thomas is very conscious of the prevalence of cultural appropriation with African rap artists and the trend of Asian artists utilizing controversy entailed by racial slur lyrics to stir up media attention. Thomas expresses his reluctance of utilizing words that entail racial bigotry; in the past, various Asian and Caucasian rappers have falsely attempted to diminish the power of slur by applying it in their own works—Thomas recognizes that they lack the right to be in the position to do so, as such terms symbolize the endearment professed by the descendants of tormented African Americans for enduring past sufferings.